Polly of the Circus

From the opening

The band of the “Great American Circus” was playing noisily. The performance was in full swing.

Beside a shabby trunk in the women's dressing tent sat a young, wistful-faced girl, chin in hand, unheeding the chatter of the women about her or the picturesque disarray of the surrounding objects. Her eyes had been so long accustomed to the glitter and tinsel of circus fineries that she saw nothing unusual in a picture that might have held a painter spellbound.

Circling the inside of the tent and forming a double line down the centre were partially unpacked trunks belching forth impudent masses of satins, laces, artificial hair, paper flowers, and paste jewels. The scent of moist earth mingled oddly with the perfumed odours of the garments heaped on the grass. Here and there high circles of lights threw a strong, steady glare upon the half-clad figure of a robust acrobat, or the thin, drooping shoulders of a less stalwart sister. Temporary ropes stretched from one pole to another, were laden with bright-coloured stockings, gaudy, spangled gowns, or dusty street clothes, discarded by the performers before slipping into their circus attire. There were no nails or hooks, so hats and veils were pinned to the canvas walls.

The furniture was limited to one camp chair in front of each trunk, the till of which served as a tray for the paints, powders and other essentials of “make-up.”

A pail of water stood by the side of each chair, so that the performers might wash the delicately shaded tights, handkerchiefs and other small articles not to be entrusted to the slow, careless process of the village laundry. Some of these had been washed to-night and hung to dry on the lines between the dusty street garments.

Women whose “turns” came late sat about half-clothed reading, crocheting or sewing, while others added pencilled eyebrows, powder or rouge to their already exaggerated “make-ups.”

A short sample. Read the whole book

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